Tag Archives: Topology

Contemporary classical act Topology is cool and clever; in fact, it was clever from before it cool to be so. The quintet has been on the Brisbane scene for 20 years now (with only one member change) and they are celebrating the journey towards the anniversary with their 14th full-length album, Tortured Remixes, launched through this year’s Anywhere Theatre Festival.

The ‘mixtape’ album is not one of traditional cover songs but ‘tortured’ takes from the creative minds of Topology’s composers, John Babbage, Robert Davidson and Bernard Hoey, who bend, stretch and scramble popular melodies into adventurous songs anew. And the result is as enigmatic as ever thanks to its mostly anagrammed song titles.

Some arrangements such as ‘Mama Mia’ and ‘We Will Rock You’ are instantly familiar, while others take longer to appreciate, such as in the spirited, stylistic ‘Satisfaction’ mashup ‘Fantastic Note Coatings’, which comes complete with the same sense of frustration as its The Rolling Stones original inspiration. From The Beatles to Beyoncé, “Tortured Remixes” offers audiences a trip across continents and decades. Certainly with such a range, there is something for everyone, whether they be fan of Dizzy Gillespie’s modern jazz be-bop or the pioneering Australian punk rock sound of The Saint’s 1976 iconic single, ‘I’m Stranded’ (which serves as a particular show highlight).

Slowed down as many of the arrangements are, also allows for unique appreciation of the nuances of melody, such as in numbers like ‘Whinging Tweet’ which serves as tribute to Cold Chisel’s ‘Cheap Wine’ tell of sitting of the beach drinkin’ rocket fuels. Similarly, the ‘Black to Grey’ two song mashup of Deep Purple’s hard rock number ‘Black Night’ with Visage’s decade-later, new-wave, electronic hit ‘Fade to Grey’, allows for some lovely stripped-back string sounds in evocation of chorus memories. Every piece comes with a clear passion in its delivery. Indeed, right from the opening number’s take of Mark Ronson’s ‘Uptown Funk’ (‘Two-Punk Fight’), there is an infectious energy to proceedings that permeates the light and shade of individual numbers and Robert Davidson is particularly blistering on the double bass.

Anyone who has ever seen a Topology show knows to expect a treat because everything the group does is good and “Tortured Remixes” is no exception to this expectation. As they continue to go from strength to strength, touring nationally and internationally, Brisbane should not only be proud of them as a home-grown success story, but embrace any opportunity they can to see their sometimes-warped but always wonderful work.

Unrepresentative Swill (QPAC and Queensland Music Festival in association with Brisbane City Council, Topology and The Australian Voices)

QPAC, Concert Hall

July 29

Brisbane’s own indie classical quintet, Topology are acclaimed for a reason; their collaborations are as innovative as they are exceptional. Following on from their work with the Kransky Sisters and then Dead Puppet Society, they are back with another interesting collaboration, this time with The Australian Voices choir as part of the Queensland Music Festival. And the result is simply magic.

“Unrepresentative Swill” takes audience members along on a musical narrative ride inspired by famous speeches from Australian history. Composed by Topology’s Robert Davidson and John Babbage, alongside The Australian Voices Artistic Director Gordon Hamilton, the performance navigates pivotal moments that have shaped our nation, taking the words right out of our PM’s mouths in the process. And from Whitlam’s ‘Well May We Say’ to Abbott’s ‘A Stain on Our Souls’ there is something for everyone and from all sides of politics.

This is a balanced work of restraint with the words of the oratory being easily overlayed by the musical and choral work so that no one element ever threatens to outshine the other. In true Topology fashion, the music is simply magic with all musicians being given ample opportunity to shine, especially in their synchronicity with the rhythm of wartime speeches and lingering violin melancholy.

Under the guidance of their enthusiastic conductor Gordon Hamilton, the The Australian Voices choir’s synchronised vocals cannot be faulted as members sing every line melodically and with conviction, especially evident in the final ‘Not now! Not ever’ exclamatory speech of Julia’s Gillard’s misogynist accusations. Tenors add much timbre to pieces and through the singing style and animated faces of choir members, there are many moments of humour to the show, culminating in a John Howard rap, taken from a 1996 Four Corners interview about the parallels between politics and cricket. Indeed, not all speech extracts are from politicians or the political arena, with the program also including numbers such as Noel Pearson’s 2014 eulogy for Gough Whitlam about public progress being the reward for public life and Malcom Fraser’s comment that life is not meant to be easy, made as part of his 1971 delivery of the Alfred Deakin Lecture.

“Unrepresentative Swill” takes its name from former Prime Minister Paul Keating’s blunt view of the Australian Senate, so is an excellent descriptor for the nature of the evening, which ends with encore mashup of famous lines about no children living in poverty, children overboard and Joe Hockey’s recent advice to first homeowners, amongst others. However, while there is some light made, there is also much substance to the program, illustrated through its sensitive approach to such emotional texts as Keating’s 1992 ‘Redfern speech’ including the choral repetition of the line ‘we took the children from their mothers’ as a lingering emphasis of its power.

The show seems to capture the truth at the essence of each message and to complement this, author, comedian and TV personality Adam Spencer’s eloquent and engaging narration is filled with interesting titbits of information and historical context, such as the stories of John Curtain’s death in office and the circumstances behind our nation’s shortest serving politician. His anecdotal style of delivery is both eloquent and engaging and complements the wise choice not to present the speeches chronologically.

“Unrepresentative Swill” is a distinctive work of much distinction. The intimacy of its reverse mode Concert Hall staging with the audience seated in close proximity to the performers on stage creates an intimate and relaxed atmosphere that suits the unplugged style of interpretation and delivery, and only makes it feel like more of a privilege to experience the superb show.

When Queensland Theatre Company announced “Argus” as part of its 2015 program, they had me at Topology. I’ve loved everything that this acclaimed group has done and their presence as provider of the live music soundtrack (John Babbage’s score) to the show was reaffirmation of why the music ensemble is so acclaimed on the Brisbane Theatre scene, adding as it does to the innocence and beauty of an already sweet story.

“Argus” is a whimsical whip of a show from Queensland’s own Dead Puppet Society, running at an economical but entirely engaging 45 minutes. The charming children’s work tells the adventure story of a little creature’s fragile attempts to find home in a world in which he does not fit. From birds to bugs, all sorts of characters emerge from all types of terrain, from under the sea to outer space, making use of nothing but household objects, the performers’ hands and a revolving wheel of mini-sets to take audiences through each chapter of Argus’s journey to try and find place in the human world.

The characters are made entirely endearing through the collective efforts of their four puppeteers, intertwined as they so often are to produce unbelievably believable creatures of all animal types. Although there are frequent sounds to emphasise emotion and engage the audience into audible ‘awws’, the show is sans any dialogue and does not suffer from its absence. It does not detract from the narrative at all, but, rather, reinforces the poetic magic of the experience.

“Argus” is a show that needs to be seen, not necessarily to be believed, but because it is so difficult to describe the immersive world created by its puppet-based visual theatre. Dead Puppet Society is renowned and celebrated for its unique way of looking at the world through imagination at creative play and “Argus” is a stunning example of this. The heart-warming show bubbles with joy (literally) and is sure to be a hit amongst the youngest of audience members. Even those (like me) who are not traditional puppet fans wills surely be entertained by its whimsicality, impressed by its performer’s technical skills and comforted by is essential message regarding the worth of paying attention to the little things in our big world. As Dead Puppets Society embark on their post-Brisbane-season national tour, the joy is that they get to share this quietly touching piece and expand the imaginations of so many theatregoers, whether they be young or young at heart.

With an ABC test pattern projection domineering the pre-show stage and an opening number from “Lost in Space”, it is clear early on that there is going to be nostalgic appeal to Topology’s show “Tunes from the Tube”, which sees them presenting in collaboration with Esk’s own oddball Kransky sisters. But rest assured that you do not need to be of any particular vintage to enjoy the musical repertoire; from “Dexter” to “Downton Abbey”, soaps to “Skippy”, there is something for everyone to either instantly recall or eventually realise. The musical instruments are just as eclectic, as in accompaniment to Topology’s usual repertoire of string and piano, come the Kransky’s tuba, toilet brush and cheese grater to name but a few.

So how has this seemingly strange collaboration come about? Topology travelled to Esk to rehearse for a follow-up to the tour they shared with The Kransky Sisters in Holland. Two months later they returned to retrieve their left-behind television, only to find that the previously deprived sisters had discovered the wonders of daytime tv, reality shows and home shopping. It makes for a very funny premise as the sheltered spinsters recount the experience of having houseguests (Topology are a little bit messy and use a whole teabag each), all with trademark folksky dialogue and deadpan delivery. They barely even crack a smile, for example, when half-sister Dawn hilariously moves to her own mysterious ways to trip the light fantastic solo into the audience.

Topology are acclaimed for a reason; as an innovative group of theatre professionals they create interesting shows – always different and always good. While the premise of “Tunes from the Tube” and its collaborative execution are keeping in this tradition, the result is a sometimes laboured rhythm, particularly during an onstage quiz for ‘volunteer’ audience members. Topology shows aren’t usually so talky. Its members are musicians not actors and it is when they play their music that the show really hits it heights with a haunting version of ‘On the Inside’ (of “Prisoner” fame) and a memorable rendition of the “Law and Order” theme tune, made their own through rich string sounds.

Fluidity issues aside, “Tunes from the Tube” is full of fun, frivolity and even a few surprises. With tv as its fodder, it is rich with entertainment possibilities, for as the sisters observe, tv never sleeps from its selling and buying, yelling and lying, kissing and crying. “Tunes from the Tune” may not engender any of these reactions, but it will have you wanting to clap and sing along as you relive some treasured tube memories.

I like Topology. They do interesting things and they do them well; “Share House” is another example of this. The ‘instrumental opera’, which is loosely set in the 1970s, fuses physical theatre and music to convey a narrative of fictional characters that progresses without any words. Rather, the story is conveyed using only the magic of the group’s original musical pieces. And it is amazing how clear events are, despite the lack of dialogue, as the music speaks its volume of emotions – from the longing of love unrequited that is captured by the soulful strings to the intensity of the ensemble’s combined criticism of one of their own (that one housemate who breaks things, drinks too much, sets a fire – you know that type, there is probably one in every share house.)

There is indeed an authenticity to “Share House”. As the laid-back instrumental sounds of Cold Chisel’s ‘Cheap Wine’ entice the audience, the scene is set beyond just the littering of empty beer cans across the stage. Complete with the contrasts of colourful, mismatched fabrics and the clichéd kitsch of hippy religious iconography (and a yoga mat), the Powerhouse’s Visy stage is authentic in its representation of the disheveled flat that is home to five dysfunctional bandmates and their story. And it is a story of pathos and comedy (complete with a twist in its tail), full of affection and fun. Accomplished as these musicians are, Topology’s team members all perform flawlessly and with impeccable timing, allowing for silence to speak as much as the show’s sounds. Although it might not inspire you to share a house, it will ignite in you a desire to share more of Topology’s talents and anticipate what these marvelous musicians will come up with next.

Tickets are now on sale for the 2014 Anywhere Theatre Festival, a 12 day fiesta of performance, occurring anywhere but in a theatre. The unique event, now in its fourth year, will run from 7-18 May, featuring a range of performances in the nooks and crannies of unusual locations around Brisbane’s city and suburbs.

The festival features performances from circus to comedy, dance to drama, poetry to puppetry, burlesque and music. And with 420 performances of 67 productions showing in 12 days, there is no shortage of choice in the program. From Meme Juice’s “Drunk Shakespeare” and Black Fox Theatre’s “Bard Wars VI: The Jedi Returneth” to The Rag Tag Band’s “Do It For Science” and Impromafia’s “Rimmelzwaan, Robinson & White: Improvisors at Law”, there is sure to be something for everyone.

The musically minded, for example, can join Brisbane’s Topology for a house party of groovy tunes, board games and fun-filled mayhem, while the musically inquisitive can visit “a library at the end of the world,” in which Vena Cava Productions attempts to catalogue the memories of every person on Earth using cassette tapes. 12 days seems barely long enough to explore all it has to offer.

Indeed, the Anywhere Theatre Festival represents theatre that is quite unlike anything else. With performances occurring in barbers, boats, bowls clubs and bathhouses, amongst other venues (there is even, for the first time, a performance in a hospital), the Festival certainly exemplifies a different way to engage in theatre and as a community. One look at the program and you are bound to find something (or things) exciting in its innovations, experimentation and engagement.

As a starting point, I would definitely recommend Violet and Veruca’s “Holepunch”, having seen it at last year’s 2High Festival at the Brisbane Powerhouse.

The Visy Theatre stage is stripped back and bare apart from a range of instruments… piano, drum kit, double bass… collectively hinting at the musical array to follow. For that is what “Three: Tap Into Topology” is about, the merging of discrete genres in exploration of the fluidity of stylistic definitions. And the result is something surprisingly wonderful.

As Brisbane Powerhouse Artists-in-Residence, Topology’s eminence should be of no surprise to Brisbane audiences. Indeed, the group is known for the breadth and depth of its collaborations; the quintet, comprised of strings, saxophone and piano, has created impressive original work over its many years with collaborators such as Geoffrey Rush, Queensland Ballet, Kate Miller-Heidke, Katie Noonan, the Kransky Sisters, to name but a few.

In “Three”, Topology has come together with drum soloist (and rhythmic genius) Grant Collins and tap-dance master Bill Simpson to create a bold new show that combines music and dance in presentation of both exciting original compositions, such as the memorable Gavin’s Stomach by Bernard Hoey.

The show begins delicately, with the strings adding a haunting quality to early pieces. Before long, the onslaught, as Robert Davies deems it, it begins and Grant Collins shows his stuff with innovative and enthralling drum set compositions, impressively, at one stage, using all four limbs both individually and collectively to match the different time beats of the other instruments. This man’s skill is amazing. But, this performance is made all that more engaging by his charming audience interaction and his obvious passion. And it is wonderful to see some younger audience members playing air drums along with him.

Grant Collins defies stereotypical drum set methodologies, which brings out the full potential of five musicians. This is particularly seen in the re-imagining of Carl Vine’s Piano Concerto No. 1 to include drum collaboration. Indeed, collaboration is the feature of all of the Three numbers. And the show also features Queensland tap-dance wizard Bill Simpson, Artistic Director and choreographer for Red Hot Rhythm, a Gold Coast/Brisbane based dance company. Simpson is a skilled dancer of poise and power, and the synchronicity of his moves with the music swelling in accompaniment is impressive.

As Grant Collins remarked, this is not your Triple M type of music, which is a good thing, as some music has to be seen and not just heard. “Three” is a show that is everything a show should be: exciting, contemporary, innovative, intelligent and brilliantly achieved. And as I overheard a departing patron reflect, “it is always good to experience different things.”